The Thoughtful Cliff

  So despite saying in my previous post that i was going to update more i haven't updated in over two weeks!  Sorry!  But, good news - i have made my first print from my recent holiday to the north east coast of England, and here it be:

  I shot this on a very sunny day in the town of Saltburn.  It is printed onto Ilford MGIV FB Warmtone paper using Ethol LPD diluted 1:4 and toned using selenium 1:9 and a bit of sepia.  This is my first time using a non-neutral developer and i have to say i loved it.  If you are unfamiliar with LPD it is a wonderful developer which allows you to change tonality (not contrast) using dilution e.g. use it 1:1 for cool tones and around 1:4 for warmer tones (obviously tonality will depend very much on the paper you are using too). 

I like to think of the clouds as little thought bubbles coming out of the cliff. 

  I'm pretty pleased with this print, i really feel like i am starting to get into a rhythm and personal style with my printing.

  I made this print using the split grade printing technique, as i have done with so many others.  I did a soft exposure test strip, selected the best exposure for highlights (remembering to go a bit heavy as the sepia toning i had planned would lose a little highlight detail), then i did a hard exposure test strip and selected the best exposure for that (again, taking into account the added density that selenium toning would yield).  It's always good to have a good think about toning either before printing or during proofing so that you can account for any lost/added density that may result form the toners you use (that reminds me - i should really do a few tutorials covering toning).   I knew with this print that i wanted a selenium/sepia split so i deliberately overexposed the highlights and very slightly underexposed the shadows.

  So, after making a base print of my combined soft and hard exposures it was time to think about dodging and burning.  The cliff was looking pretty blocked up so i did a bit of a burn on the soft exposure and a dodge on the hard exposure - this evened out the contrast a little whilst maintaining the "pop" of the cliff.  Then i did a very slight hard exposure burn on the sky to add a little extra depth to the clouds (the use of a grad filter at the time of exposure had already helped darken the sky to a pleasing tone).  Then i did a bit of an edge burn around the sides and base of the print to draw the eye into the centre (i did this on both the soft and hard exposure).  I think this really works on the base of the print as if the sand was all the same mid tone the eye would be drawn off the bottom of the image.

  To finish off the print i did some very very light bleaching (followed by a fix) of the cloud highlights and the band of light across the sand (i used potassium ferricyanide/potassium bromide bleach from a sepia kit diluted 1:9).  This helped add a bit more "pop" to the highlights but i had to be carfeul that this combined with sepia toning would not cause any highlight detail to be lost.

  After a good wash (in my newly constructed print washer) i bleached back the print until the upper midtones were just starting to be affected and then toned in standard sepia toner.  After a quick wash i then transferred the print into selenium toner mixed 1:5 for a few minutes which added a nice dark purplish hue to the print.  I then did a final wash and left the print to dry before scanning.

  I'm really pleased with how this print turned out and i am loving Ethol LPD as a print developer.  I'm going to try some coldtone papers with it soon and a stronger dilution and see what effects i can get.  In the meantime i've still got plenty more frames to be printing from my trip away.

  I hope some of you have found this post useful and, as always, keep printing.

Thankyou Eddie!

  Have you ever had a moment of pure coincidence, where you were in the right place at the right time for something great to happen?  I had one a few months ago – it was early May and Jess and I were out celebrating our 2^nd wedding anniversary (how time has flown).  We had had an expensive month what with moving house and Jess changing jobs so we didn’t really want to go away for a break.  We decided to just have some nice time off to relax and enjoy each others company.  We had a few outings, one of which included a shopping trip to Manchester.

  Even though i’m a manly man with a manly mans beard, i do enjoy a shopping trip.  And when you get to spend it with your beloved even better (see how i am laying on the affection – although soppy this will earn me darkroom time at a later date).  We wandered round for hours, pottering around the usual shops, enjoying our time together.  When you live in Preston, Manchester is like shopping heaven – which brings me to the focal point of this tale.  Manchester houses the closest analogue camera/darkroom store to where i live, namely the Real Camera Co (yes i am aware Calumet have a store in Manchester also, but it isn’t in the city centre is it).  Whenever i am in the area i make a point to pop in, even if i don’t need anything.  The chance for me to go into such a store is a such a rarity that to pass it up seems foolish.  No amount of googling or apugging can ever make up for seeing cameras in the flesh.  Hasselbalds, Mamiyas, Bronicas, leicas, Graflexes etc  are all lined up ready to be drooled over.  

  They also have a nice little book section to peruse through.  I decided to have a pick through as darkroom books are always a treat to have and you never know, there may be a few hidden gems.  Eventually i stumbled upon a book called Creative Elements by Eddie Ephraums.  I wasn’t familiar with his work but i bought the book anyway as it was on a couple of pounds and it seemed interesting.  Only when i got home and started reading did i realise the magnificence of what i held in my hands!  If you are unfamiliar with this book i recommend you go onto amazon immediately and fork out the paltry sum of £2.04 so that you too can own it.  Unlike other darkroom books Ephraums takes a number of his own images and talks you through what he did from setting up the camera, developing the film and creating the final print.  He includes his dodging and burning charts, and most importantly he reveals his mistakes throughout the process.  

  The best part of this book, however, lies in what Eddie shows us can be done with a "mediocre" negative.  Almost every developed film has at least one frame (be it landscape, portrait or whatever) that is dull, flat and lifeless.  Whilst we usually pass these by in favour of “superior” negatives, Ephraums shows us that these frames should not be so forgotten.  

  Take, for example, the following three frames (sorry about the quality, they are just mobile phone pictures taken straight from the book):

   If i had these shots on a negative, i'd probably play around with them for a while but then end up moving on to something else.  Now look at what Ephraums did with these shots (again, sorry about the quality):

  A complete transformation!  By effective use of dodging & burning, creative choice of paper grade and use of toning & bleaching, Ephraums is able to completely change the look and feel of the image.

  And that is something i hadn't really come across before.  Naturally i had read and seen may examples of dodging and burning etc at work, but i had never considered how they could be used so  extensively in completely changing an image.  Which i guess is where 'art' and 'expression' come into photography.  This revelation led me to look back over my old negatives.  Unfortunately the reason most frames on my old negatives didn't get printed was because of scratches, fingerprints and blemishes on the emulsion.  However, i remembered the roll of film i had recenty shot on a day out with a friend.

  We had gone up to Ribblehead so that i could take some photos and he could paint the majestic viaduct.  The weather was grey and overcast with sunny spells so i didn't hold out much hope for getting any great photos.  But still, it was nice to be out for a day with a close friend.  We took an appropriately oversized picnic, set up our chairs and took in the beautiful scenery.  The moors of the Forest of Bowland and Yorkshire, although quite bleak, are beautiful places which are often overlooked by many in favour of the Lake District.

  Unfortunately the viaduct was very popular with walkers that day so i couldn't get a clear shot.  Also some moron thought it was fine to drive his van down the footpath and park right in front of the viaduct, thus saving himself 5 minutes of walking time.  I didn't really visualise having a bright white van in the foreground of my final print!  On another note, why oh why do people use trekking poles when walking along the flattest and widest footpaths in the world?  The only time you need to use trekking poles are if your walking up a mountain.  And i mean a mountain, not some little hump in the Lake District!  Anyway, i decided to leave Daniel painting and go for an explore of the local area.  I found a few small caverns and limestone pavements, but nothing that i fancied shooting.  I looked to the horizon and saw a distant hill, small and long, with fields in the foreground and some nice clouds in the sky above it.  I thought "what the heck", setup my tripod, composed and exposed.  I only shot two frames that day which felt wrong, but at least i had a good time doing it.

  Fast-forward a week or so and my film is developed and dry (i used up the rest of the roll a few days later on a day out with Jess).  By the way i promise i don't just go out all the time - i do some work too!  Anyway, the film was dry and i did a quick contact sheet.  A few frames looked promising so i stored that information in my head for when i got a chance to print.

  Friday.  Jess is out at a wedding all day and it looks like she's not getting home until late.  That means i've got at least 2 hours after work for some quality me time.  Into the darkroom i go.  I didn't really fancy doing any lith printing and i was in a landscape mood so i reached for the Ribblehead and Bowland negatives.  I decided to give the hill shot a try, even though it looked a bit dull and uninteresting.  Everything was a flat grey and seemed a bit "meh".  I decided to have a quick thumb through Ephraums book to get some inspiration before i cracked on.  A few test strips and proofs and i was in the area with my base exposure.  I did a few more strips for dodging and burning and then tied it all together onto one print. A bit more work required.  A little more dodge, a little more burn and then suddenly a decent-looking print started to appear.  A few sheets later and i had a print i was very happy with indeed.

  I decided to switch from RC to FB paper as i wanted the look FB gets with the sepia-selenium toning i had in mind.  I adjusted my exposure accordingly and compensated for drydown.  A few minutes later i had the print in my hand and it looked good.

  I ran into the kitchen and set the tap running whilst i set up my toning gear.  I previsualised sepia and selenium for the final print so i laid out my trays.  After the wash i slid the print into the bleach for around 8 minutes, pulling it just as the shadows were starting to lose density.  I didn't want to bleach back the whole way because then the selenium would have nothing to work with.  A quick rinse and then into the sepia for a few minutes.  The print turned a lovely sepia tone, better on the FB paper than it would have been on RC.  Once toning was complete i did another wash and then put the print in the selenium.  I used a mix of 1:9 as i only wanted a slight colour shift.  The shadows went a deep brown and the sepia highlights and midtones turned from a yellow to a deeper, richer brown which was exactly what i wanted.

  After leaving the print to dry i was left with exactly what i wanted;

  Compared to the original flat print the final print is so different and i'm really happy with it.

  So what do we learn from this long and winding tale?  Never ignore a seemingly dull or uninteresting negative.  With a little work and dedication you can breathe new life and energy into an image.  Plus, everyone loves seeing a complicated set of dodging and burning plans written down don't they?!  And it feels good to really work at a print and shape it.

  All that is left for me to say is "thankyou Eddie", without your book i may never have unlocked the potential of many of my negatives.

Sometimes a Joy, Sometimes a Trial

  I printed this at the weekend and it was a huge pain in the bum to do!

  I went through at least 20 sheets of paper trying to get the contrast and exposure right.  I had to keep swapping frames on my negative due to dust and hair that were in the emulsion - the whole printing process was just a pain.  Sometimes printing is a joy, sometimes a trial.

  Even the toning didn't go as planned.  I wanted to try something i read in the Tim Rudman toning book that i recently acquired.  You blue tone the print to completion, rinse then put it into selenium toner.  The selenium replaces the blue in the highlights which turn a putty colour.  If you rinse again and put the print back into blue toner then the blue will shift to a bright azure blue.  Guess what...it didn't work.  The selenium stripped all the blue back off the print (apart from a slight hint of purple in the shadows).  It seems only some blue toners work well for this.

  In the end i split toned in sepia and blue to get the above final image.  I really don't know if i like it or not.  But i guess each session in the darkroom is a lesson, sometimes a hard one.

Introducing... Slavich Unibrom!

  During my recent order from my usual photo supply store i got a 25 sheet pack of grade 3 Slavich Unibrom.  This is currently the only true lith paper being made since Foma altered their emulsions some months ago.  Whilst the Foma papers still work in lith they no longer give true infectious development so, alas, do not count anymore... not that i'll stop using them though!

  I had seen from my internet research that Unibrom is a hard paper to tame.  Little did i know!  Normally i can get the print i want first or second try when it comes to lith.  I only just got it on my third try with this paper!  My first print went black very rapidly and my second was way too pale.  The infectious development on this paper is ridiculous!  I am used to developing times of around 20 to 45 minutes when in lith but with Unibrom i was snatching at around 5 minutes!

  The paper itself is lovely.  It has a glossy finish that isn't too in your face but gives a lovely sheen, and with it being double weight it has a nice thickness to it that is a joy to handle.

  Im looking forward to using it some more but ill definitely have to make sure i choose the right subject.  This paper gives a very graphic look, almost like a charcoal sketch that could look horrendous with the wrong negative.  It's definitely going to take some experimenting to get the best from it.

A Bank Holiday with Eddie

  Finally at last i got a decent session in my darkroom.  As many of you will know today is bank holiday Monday here in the UK.  Basically that means that everywhere is shut and everyone is out mowing their lawns and washing their cars.  Well they would be if it wasn't raining for a change.

  As Jess works at a hotel she doesn't have the day off so i dropped her off at 7 this morning and then headed straight into the shed to start printing.  Now, i recently shot a friends wedding on film and had a few frames left over which i went on to use on the coast at Lytham.  I decided to print one of the shots from that roll which i  really thought would let me get creative.  You see, i've been very inspired lately to give my printing skills a boost.  The book 'Creative Elements' by Eddie Ephraums is to blame entirely.  I saw it sitting on a shelf in a used bookstore and had a thumb through.  It looked interesting enough so i bought it and ever since i've been dying to have a good go at some negatives.  If you're into darkroom work i highly recommend you get this book.  In it Ephraums basically goes over ten or so of his shots and explains in detail how he got from camera setup to final print.  You know those shots you take and when you print them they just look dull and uninteresting?  Prepare to be inspired to dig them out again!  That's all i'm saying for now - if you want to know more then get the book!

  So, i decided to try and apply some of the things i had learnt from Ephraums' book to the negative i was planning on printing.  A straight print from the negative is just a bit...well...meh.  it's nothing special, very grey and flat.  Considerable dodging and burning was going to be required to get on paper what i saw in my head at the time of exposure.

  To start with i did a test strip (i should note that i have started using the f-stop printing method and i find it so much easier than dodging and burning by time - i'll be using this method from now on i think) and chose 18 seconds as the correct overall exposure time.  This gave me the tonality i wanted in the wood, which is the most important part of the picture.  The highlights were spot on where i wanted them but the shadows were weak, even though they had good detail.  I decided to step up from grade 2 to grade 3 to give the shadows a kick, even though it would mean a little loss of detail in the shadows.  I kept the exposure time the same and after processing the paper i was happy with the final result.

  Now came the fun of trying to realise the print i wanted.  I ended up using a lot of trial and error (and paper!) trying to get the sky how i wanted and getting the foreground nicely burned in etc.  You can see what i finally decided upon in my notes below:

  I spent ages working on the sky and couldn't get white clouds on darker sky until i realised that the sky was getting a hefty bit of exposure at grade 3 in the base exposure (sometimes it's just the obvious things that elude you for ages).  So, during the base exposure i dodged the sky for 1 stop (9 seconds) to ensure the clouds would be quite white ready for burning in later.  Next i focused on the foreground as i wanted it to be a lot darker, leading the eye towards the centre of the picture.  The right hand side got +1/3 of a stop (+4.7s) and the left hand side got +2/3 (2 exposures of 4.7s).  The very top of the sky then got +1/2 a stop (still at grade 3) to darken it slightly ready for building on later.  All edges were then given a +1/3 of a stop burn to darken them slightly and gently push the eye towards the centre of the frame.  I then switched to grade 0 to burn in the long white grass along the horizon and part of the foreground.  Had i merely extended the base exposure this would have affected the tonality of the wood which i wanted to maintain as it was.  Grade 0 would burn in a little highlight detail without affecting the shadows.  I decided that +1/3 of a stop would suffice to bring those highlights down.  Next i switched to grade 4 1/2 to burn in the sky and clouds.  I did several small passes up and down the sky with a piece of card during the +1/2 stop exposure.  This gave a gradational burn to the sky and enhanced cloud separation which is exactly what i wanted.  Finally i used a little bleach from a toning kit to paint over the sky just above the horizon.  It was very grey and kind of melted into the clouds above.  Lightly bleaching (with diluted bleach) separated this sky from the clouds above and the horizon line below.  It's easy to get carried away bleaching as i found out on a previous print - i had to go back and reprint it all.  Keep water nearby to wash the bleach off!

  After a good washing i bleached the whole print back in potassium ferricyanide/bromide 1:7 for 5:30 whereupon much of the highlight detail in the long grass had disappeared and some of the cloud highlights were starting to go.  I washed again and then sepia toned to completion.  After another wash i toned in selenium for 1:30 which gave the print a little kick.

  Finally after all that work i got this:

  And i'm really really happy with it.  It was so nice to focus in on one print and really work it.  Figuring out the dodges and burns required to get the print in your mind onto the paper beneath the enlarger.  Ephraum's book was invaluable in giving me the kick i needed to get creative.  I'm really looking forward to the prints to come.   have a few projects in mind and i am hoping to apply the new skills i've learnt to those too.